Wilhelm Busch

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Busch, Wilhelm


Born Apr. 15, 1832, in Wiedensahl, Lower Saxony; died Jan. 9, 1908, in Mechtshausen, also in Lower Saxony. German poet and artist.

Busch was a shopkeeper’s son. He studied at the Academies of Arts in Düsseldorf (1851-52), Antwerp (1852), and Munich (1854). He was the author of the popular children’s book Max and Moritz (1865; Russian translation, 1890). Writing from a liberal point of view, he criticized German life, especially that of the clergy, in his verse satires The Life of St. Anthony of Padua (1870; Russian translation, 1923), Pious Helen (1872), and Pater Filucius (1873). In his illustrations for his own poems Busch, with incisive observation and humor, has left us vivid impressions of prototypes of German philistines, their self-satisfaction, and their hypocrisy.


Sämtliche Werke, vols. 1-8. Munich, 1943.
In Russian translation:
Veselye rasskazy pro shutki i prokazy. St. Petersburg-Moscow [1890].
Skazki. Leningrad, 1924.


Böhne, F. W. Busch. Zürich-Stuttgart [1958].
Flügge, G. Wilhelm Busch. Leipzig, 1967.
References in periodicals archive ?
His favourite comic book is the highly inventive, blackly humourous tale of Max and Moritz (A Story of Seven Boyish Pranks) which was written and illustrated by the German humourist, poet, illustrator, and painter Wilhelm Busch.
Awakeners of the somnolent and protesters against sentiment are Kurt Bartsch's Nestroy, who makes love and money equivalent and fungible, and Manfred Misch's Wilhelm Busch, who reveals Schopenhauerian evil in everyone, including children.
This is plainly evident with Hugh McCrae's comic characters 'Jim and Jam', published in The Comic Australian, being obviously modelled on the American artist Rudolph Dirks's comic strip characters 'Hans and Fritz, the Katzenjammer Kids', being in turn originally copied directly from the 'Demon Children, Max and Moritz; the creation of the German artist Wilhelm Busch.
Not only do the Germans have a long history of cartoons and caricature going back to such eighteenth-century masters as Daniel Chodowiecki and Johann Ramberg, but they even have a national cartoon museum--something we still don't have in Britain--named after another of their great comic artists, Wilhelm Busch. As for lampooning Hitler and his followers, one only needs to look at the cartoons of the Munich-based weekly magazine Simplicissimus--one of the world's foremost journals of satirical art--during the formative years of the Nazi movement in the 1920s and 1930s.
Although Gernhardt is a highly original writer, his predecessors, as is obvious from his works, include Wilhelm Busch, Joachim Ringelnatz, Bertolt Brecht, and Erich Kastner (whom he quotes on page 96).
He quotes the well-known examples, like Clemens Brentano (Gockel und Hinkel), Wilhelm Hauff (JudSuss), Wilhelm Raabe (Hungerpastor), Karl Immermann (Die Epigonen) Wilhelm Busch (Die fromme Helene, Plisch und Plum), Felix Dahn (Kampf um Rom), and Freytag of course, but again the book leaves the reader with the impression that German literature from Romanticism to Realism was entirely antisemitic.
This is our world as well, and Grandville's prescient work is the subject of an upcoming exhibition and accompanying catalogue put together by Hannover's Wilhelm Busch Museum.
Starting with a lengthy description of the duelling rituals of German students and continuing through the bullying of Theodore Roosevelt, the debates about capital punishment, the political satire of Gilbert and Sullivan's show tunes, and the violent cartoons of Wilhelm Busch, Peter Gay's latest excursion into a Freudian interpretation of the nineteenth-century bourgeoisie once again challenges us to reconsider the traditional image of staid and respectable Victorian society.
Alexander Stillmark stresses, with appropriate illustrations, Wilhelm Busch's 'anti-bourgeois irony', which he believes audiences missed, though the claim that 'it was Busch's unique contribution to give the animal world equal status and significance by caustic caricatures which bestowed human characteristics on the animal and vice versa' (p.
The titles of the subsections give us a hint of what awaits us: "Nein, die Kochin war es nicht," "Gotter mit roten Ohren," "Man wei[Beta] nie, wo Joseph hinzielt," "Als Mozart ermordet worden war," and, finally, "Wir sind der Hahn und die Henne." The poems move, many cuts above Eugen Roth, through our imagination and fantasies, and yes, there is an occasional dash of Wilhelm Busch. But first and foremost it is Alfred Brendel, the kind of brilliant artist who, even on a secondary track of his particular artistic expression, is entirely his own producer and always thinks of his artistic mission first, and of everything else around him later.